Yohji Yamamoto. Fall 2024 RTW - Paris Fashion Week.
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Yohji Yamamoto's serenity, and observation of his own creativity within a timeline that spans over Forty years, carries gently over onto his women's collection. And as noted in my review of his men's Fall 2024 array, Yamamoto's sang a metaphorical ode to himself, akin to the aging master tidying up his or her timeline. Resting within its past to present legacy, while releasing the finale as a continued creative imprint.
How does one define a closure or ending? As the late French philosopher Albert Camus decreed, that the actor is the absurd man, and death comes at the end of every stage show or play. He/She lives in the moment in all of its totality, and when the curtain falls, they die. Is this the same for a fashion designer?
Yamamoto's tenure of over 40 years as fashion design, is undoubtedly a fixture that assisted in the so called reemergence of the avant-garde trend which occurred in the early to mid 2000s. And in 2024, this trend has since petered out, with only a handful of designers left. Owing so much to Yamamoto's all black, gothic stylizations and their artesian appeal of linen, wool blends and leather. That first graced the runways of Paris in the late 1970s, pieced together within its drapey, unpicked stitching and worn looks. Yamamoto's enduring impression remains.
Yamamoto's Fall 2024 Ready-to-Wear collection for Paris Fashion Week, there was no musical soundtrack, no A-listed celebrities. Opting for a low key and less populous showing, as opposed to previous runway shows. Also noted, there was no duality of young and aging, grey haired models walking side by side down the runway. It was a youthful setting, yet sombre in its mourning like presentation. As black veiled models walked, in mostly all stygian styles, quietly down the runway. For Yamamoto's latest styles, he offered a more prevalent deconstructed collection, with elements of Yamamoto's Four decade imprint on Fashion, and that appeal of avant-garde rarity and all of its nonconformity. And it is those asymmetrical and off kilter looks, which do indeed offer an individualistic backlash against conservative and modernist attire. Whilst, delineating Yamamoto's beginning and end.
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(A.Glass 2024)
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